Abstract EN:

Résumé :Buildersof the forgotten guard the sign of a life, inscribed in indelibil trace at the heart of a theatrical vision of a show totality ephemeral and enigmatic. That wich is false and illusory and that wich is the fusion in a theatricality that somewhere convinces use to search irts principles and his conclusions. Our ivestigation discovers life where the signs of the death deploys itself. The anthropologic approach permits one to learn the plasticity in an event to be all in learning it in a living spectacular practice. The dialogue articulates itself betwen the theological givens of a calvary Christ living at the heart of a deathly context and the artistic and free gesture of the theater that a production for life transcribed into total theatrical fact, associating plasticity and theatricality in a suite of actions to the work it constructs in three movements: the corporal, memorial and abysal. Two realities confront each other, one a theatrical illusion, the other a scenic reality. The commencement of the scene signifies this in death, by the picture of the scenic tomb in a first theatrical habitation, from where its appears impossible to perceive in it life, and from which we envision never the less the subject cast into a re-presentation. The artifact of the re-presentation even reveals the work of the fabrication of the vision. The perspective of life that the theater keeps in its memory reverses the time during which the representation last. The subject incarnates the world of aappearances and comes to oppose the materiality of a death consumed on the other hand tho other side of death giving on ideal of life specific to theater.